淺析圖像性繪畫
發(fā)布時(shí)間：2018-12-09 18:22
【摘要】：本文以美術(shù)史的發(fā)展為主線,分析了圖像與繪畫從歷史至今的相互聯(lián)系,相互對(duì)抗,到現(xiàn)今藝術(shù)的相互結(jié)合。架上繪畫藝術(shù)已不再是當(dāng)今社會(huì)的唯一平面化藝術(shù)作品,我們接觸更多的是各種媒介所呈現(xiàn)的圖像藝術(shù)。圖像比起繪畫,從時(shí)間上產(chǎn)生的速度更為快捷,顯示更為直接,沖擊力更強(qiáng),并且具有強(qiáng)大的親民性,每個(gè)人都可以是自己世界的藝術(shù)家。人們可能不會(huì)用素描,色彩來(lái)刻畫一張作品,但是卻可以輕松的用手機(jī),相機(jī)來(lái)記錄一個(gè)瞬間。而藝術(shù)家們也幾乎把攝影數(shù)字技術(shù)作為自己收集素材的主要手段,人們不得不承認(rèn),這個(gè)世界已然進(jìn)入了圖像時(shí)代。 當(dāng)今世界現(xiàn)代科技持續(xù)發(fā)展,電腦與相機(jī)的迅速普及使圖像在我們的生活中無(wú)處不在,逐漸的我們似乎再也無(wú)法離開(kāi)圖像而生存,圖像成為了我們感知世界的唯一窗口。從人類藝術(shù)發(fā)展史來(lái)看,從古至今任何一門藝術(shù)的表現(xiàn)媒介、語(yǔ)言、手段和技巧都是在發(fā)展中不斷變化的。其中就貫穿著不同藝術(shù)之間在相互撞擊中所進(jìn)行的吸收、借鑒、改造、創(chuàng)新。面對(duì)豐富而又繁雜的圖像世界,藝術(shù)家必須保持年輕的創(chuàng)造力和批判思想力,只有這樣才能夠保持獨(dú)立的藝術(shù)品格,藝術(shù)家才能夠從容地應(yīng)對(duì)泛濫的圖像世界,才能把握豐富的圖像資源,進(jìn)而為已所用,不斷創(chuàng)作出有新意的作品。攝影藝術(shù)的發(fā)展給繪畫藝術(shù)帶來(lái)有趣的多樣性,也影響著當(dāng)代藝術(shù)家的感受和觀念。當(dāng)然,最主要的還是表現(xiàn)藝術(shù)家的思想,利用無(wú)盡的圖像資源和豐富的視覺(jué)角度。想通過(guò)此文章對(duì)圖像、繪畫、加上攝影等概念的界定,用圖像對(duì)繪畫在發(fā)展過(guò)程中的相互影響、相互作用作為主線,重點(diǎn)對(duì)現(xiàn)今繪畫創(chuàng)作中對(duì)攝影圖像的各種利用現(xiàn)狀進(jìn)行分析,力求使人們對(duì)攝影圖像在當(dāng)代繪畫藝術(shù)中的作用有個(gè)清晰地理解,對(duì)利用圖像來(lái)進(jìn)行當(dāng)代繪畫創(chuàng)作有個(gè)客觀的認(rèn)識(shí)。 文章中還舉例分析了波普藝術(shù)大師安迪沃霍爾和德國(guó)在世的偉大藝術(shù)家格哈德、里希特的藝術(shù)理論和作品風(fēng)格,并結(jié)合了中國(guó)當(dāng)代藝術(shù)家的作品,共同闡述圖像性繪畫語(yǔ)言的影響與意義。以及80后新銳藝術(shù)家的作品,來(lái)表達(dá)藝術(shù)語(yǔ)言未來(lái)的發(fā)展走勢(shì)。并用方法論作為理論依據(jù),把圖像作為繪畫語(yǔ)言,向大眾展現(xiàn)一種全新的藝術(shù)理念。
[Abstract]:Taking the development of art history as the main line, this paper analyzes the mutual connection and confrontation between images and paintings from history to present art. The art of painting on the shelf is no longer the only flat work of art in today's society, we are more exposed to the image art presented by various media. Images are produced more quickly in time, more directly, more impulsively, and with a strong affinity to the people than painting, so that everyone can be an artist of his own world. People may not use sketches and colors to depict a work, but they can easily record an instant with a cell phone or camera. And artists almost use photography digital technology as their main means of collecting materials, people have to admit that the world has entered the image age. With the continuous development of modern science and technology and the rapid popularization of computers and cameras, images are everywhere in our lives. Gradually, we seem to be unable to survive without images. Image has become the only window for us to perceive the world. From the history of the development of human art, the expression medium, language, means and skills of any art from ancient to present are constantly changing in the process of development. It runs through the absorption, reference, transformation and innovation between different arts in the process of collision. In the face of the rich and complicated image world, artists must maintain their young creativity and critical thinking, only in this way can they maintain their own artistic works, and the artists can handle the overflowing image world calmly. In order to grasp the rich image resources, and then for the use of, continue to create new works. The development of photographic art brings interesting variety to painting art, and also affects the feelings and ideas of contemporary artists. Of course, the most important thing is to express the artist's ideas, using endless image resources and rich visual perspective. I want to define the concepts of image, painting, photography and so on through this article, and use the interaction and interaction of images in the development of painting as the main line. The emphasis is on the analysis of the current situation of the use of photographic images in contemporary painting creation, in order to make people have a clear understanding of the role of photographic images in contemporary painting art. To use the image to carry on the contemporary painting creation has an objective understanding. Examples are also given to analyze the artistic theory and style of the great German artists Gerhard and Richter, as well as the works of contemporary Chinese artists. This paper expounds the influence and significance of graphic painting language. As well as the 80's new artists' works, to express the future development of artistic language. With methodology as the theoretical basis, image as the language of painting, to show a new artistic concept to the public.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J205
本文編號(hào)：2369831
[Abstract]:Taking the development of art history as the main line, this paper analyzes the mutual connection and confrontation between images and paintings from history to present art. The art of painting on the shelf is no longer the only flat work of art in today's society, we are more exposed to the image art presented by various media. Images are produced more quickly in time, more directly, more impulsively, and with a strong affinity to the people than painting, so that everyone can be an artist of his own world. People may not use sketches and colors to depict a work, but they can easily record an instant with a cell phone or camera. And artists almost use photography digital technology as their main means of collecting materials, people have to admit that the world has entered the image age. With the continuous development of modern science and technology and the rapid popularization of computers and cameras, images are everywhere in our lives. Gradually, we seem to be unable to survive without images. Image has become the only window for us to perceive the world. From the history of the development of human art, the expression medium, language, means and skills of any art from ancient to present are constantly changing in the process of development. It runs through the absorption, reference, transformation and innovation between different arts in the process of collision. In the face of the rich and complicated image world, artists must maintain their young creativity and critical thinking, only in this way can they maintain their own artistic works, and the artists can handle the overflowing image world calmly. In order to grasp the rich image resources, and then for the use of, continue to create new works. The development of photographic art brings interesting variety to painting art, and also affects the feelings and ideas of contemporary artists. Of course, the most important thing is to express the artist's ideas, using endless image resources and rich visual perspective. I want to define the concepts of image, painting, photography and so on through this article, and use the interaction and interaction of images in the development of painting as the main line. The emphasis is on the analysis of the current situation of the use of photographic images in contemporary painting creation, in order to make people have a clear understanding of the role of photographic images in contemporary painting art. To use the image to carry on the contemporary painting creation has an objective understanding. Examples are also given to analyze the artistic theory and style of the great German artists Gerhard and Richter, as well as the works of contemporary Chinese artists. This paper expounds the influence and significance of graphic painting language. As well as the 80's new artists' works, to express the future development of artistic language. With methodology as the theoretical basis, image as the language of painting, to show a new artistic concept to the public.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J205
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 韓國(guó)榛;和而不同 通變則久——盧沉先生的藝術(shù)觀與學(xué)術(shù)觀[J];美術(shù)研究;2004年02期
，本文編號(hào)：2369831
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